Sprüth Magers London, 7A Grafton Street, London, W1S 4EJ
Lawler emphasizes the aspects of viewing art we continually overlook as she makes pointed observations about the art world system, its complex rules and its institutional practices. Review by Aindrea Emelife
Primary Projects, 151 NE 7TH Street, Miami, FL 33132, USA
Pettersson's sprawling layout is a conglomerate of physical associations with cemeteries, shipwrecks, willow forests and seances. Review by Shana Beth Mason
Studio Voltaire, 1a Nelson’s Row, London, SW4 7JR
On the far wall of Studio Voltaire’s main exhibition space hangs ‘Birth of the Universe’ (2014), a large-scale painting by the American artist Judith Bernstein (b.1942). Blood red labia stretch open to reveal a fluorescent yellow cavity and a bright blue spiral. Two white penises ejaculate into the orifice, and it is out of this colourful admixture that the entire universe is born.
Flat Time House, 210 Bellenden Road, London, SE15 4BW
In 'Residency Works' Simon & Tom Bloor revel in the moments where creation and destruction meet. Review by Rachel Guthrie.
South London Gallery, 65-67 Peckham Road, London, SE5 8UH
‘Last Seen Entering the Biltmore' is a show that explores the possibilities and interferences created by piercing through that imaginary wall that separates the stage from the backstage. Review by Francesca Cavallo.
Nikolaj Kunsthal, Copenhagen Contemporary Art Centre, Nikolaj Plads 10, 1067 Copenhagen, Denmark
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Shahzia Sikander transforms miniatures into detailed, living, digitally animated stories.
The Drawing Centre, 35 Wooster Street, New York, NY, 10013
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Considering the role of the collection, the database and the aggregate in drawing.
Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF
‘A Strong Affinity’ resonates somewhere between a science-fiction novel and an industrial blizzard. Review by William Davie
Cooper Gallery, Duncan of Jordanstone College of Art & Design, 13 Perth Road, Dundee DD1 4HT
Studio Jamming is the first discursive survey of grassroots initiatives that form a corner stone to the achievements of contemporary art in Scotland. Review by Alex Hetherington
Eastside Projects, 86 Heath Mill Lane, Birmingham B9 4AR
In The Agony of Power Baudrillard asserts that the demise of the radical left in 1968 can be situated in a double refusal to be dominated or to dominate through power structures. The desire for autonomy from the bonding of a life in the production of capital, fractured into a bricolage of ideologies that saw the traditional modes of resistance transmute into the spectacle of violent acts by political agencies such as the Red Army Faction in Western Germany.
Kunstraum, Gorsuch Street, London, E2 8HD
For Zin Taylor’s first solo show in the UK the Canadian-born Belgium-based artist has produced a new series of works on paper that incorporate thick marker pen lines, clippings from the artist’s archives, naïve pencil sketches and cuts of cured snakeskin. Review by Beth Bramich.
firstsite, Lewis Gardens, High Street, Colchester, Essex, CO1 1JH
The exhibition 'Sculpture, Painting, Photography, Film' draws together a wealth of archival material surrounding Bruce McLean’s early conceptual works and experiments with sculpture. Review by Elizabeth Holdsworth.
apexart, 291 Church Street, New York, NY 10013 USA
apexart explore the relationships between contemporary art and scientific research.
The Institute of Contemporary Art, 100 Northern Avenue, Boston, MA 02210, USA
The Institute of Contemporary Art, Boston presents the first comprehensive survey of Jim Hodges' work, offering poignant sculptural meditations on life, love and loss.
